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Will Eno is a Residency Five Fellow at the Signature Theatre in New York, which presented Title and Deed in 2012 and The Open House in 2014. Following an acclaimed run at Yale Repertory Theatre, his play The Realistic Joneses ran on Broadway in 2014, where it won a Drama Desk Award, was named USA Today’s Best Play on Broadway,” topped the Guardian’s 2014 list of best American plays, and was included in the New York Times’ Best Theater of 2014.” The Open House won the 2014 Obie Award, the Lortel Award for Outstanding Play and a Drama Desk Award, and was included in both Time Out New York and Time magazine’s Top Ten Plays of the Year. Title and Deed was on the New York Times and the New Yorker’s Top Ten Plays of 2012. His play Gnit, an adaptation of Ibsen’s Peer Gynt, premiered at Actors Theatre of Louisville in 2013. Middletown premiered at the Vineyard Theatre in New York City and subsequently at Steppenwolf Theatre Company in Chicago and at many other theaters and universities throughout the U.S. His internationally heralded play Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize and has been translated into more than a dozen languages. His many awards and honors include the PEN/Laura Pels International Foundation for Theatre Award, the Horton Foote Prize for Promising New Play, a Hellen Merrill Playwriting Fellowship, a Guggenheim Fellowship, a fellowship at the Cullman Center of the New York Public Library, the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame, and an Edward F. Albee Foundation Fellowship.
“An elliptical, funny, dark, strangely moving new play... The
Realistic Joneses suggests that change, which means getting older,
comes fast and, when manifest, is like being on a runaway train
with someone you might now not know.” —Chris Jones, Chicago
Tribune
“The wizardry of Eno’s craft is that, as surrealistic as this world
may seem, and as awkwardly funny as the action is, theatergoers
most certainly identify with these characters’ loneliness... The
Realistic Joneses may be the most singular work I’ve seen in some
time.” —E. Kyle Minor, New Haven Register
“The Realistic Joneses is thrilling to watch for Mr. Eno’s way with
dialogue, which eludes and embraces a rhythmic and humane
weirdness... In his hands, awkwardness feels not just uncomfortable
but dramatically vital. His recognition of the frailty of
language—his delight in the drama of subtext, the real mode of
twenty-first-century communication—creates space for the audience
to interpret what they are seeing.” —Economist
“The Realistic Joneses makes stinging, sometimes wistful
observations about the challenges we face as individuals and in
relationships... Using the intriguingly offbeat dialogue that is
his hallmark, Eno draws his four characters to each other in ways
that movingly emphasize the ultimate commonality of the human
condition.” —Elysa Gardner, USA Today
“Indescribably brilliant... Something tells me that this odd,
wonderful play is going to have a very long life, and that those
who see the world premiere will gain bragging rights about being in
on the ground floor of the creation of a modern American classic.”
—Joe Meyers, Connecticut Post
“Very funny... This play worms its way into the psyche. Eno subtly
imprints on our consciousness not just a general awareness of our
mortality but of the way dread pervades our daily routines, and how
it instills in us a need for other people.” —Don Aucoin, Boston
Globe
“Eno is a master who has a unique voice of his generation of
playwrights... a fascinating word fest that dazzles in the language
of absurdist theater.” —Frank Rizzo, Hartford Courant
“A thoughtful play that resonates with thematic richness and
feeling... Questions of mortality, solitude, love, loss, humanity
and the universe surface in sneaky ways that catch you off-guard in
Eno’s writing. What might sound to the casual listener like
off-the-cuff glibness artfully veils an emotional depth of charge.”
—David Rooney, Hollywood Reporter
An elliptical, funny, dark, strangely moving new play... The
Realistic Joneses suggests that change, which means getting older,
comes fast and, when manifest, is like being on a runaway train
with someone you might now not know.” Chris Jones, Chicago
Tribune
The wizardry of Eno’s craft is that, as surrealistic as this world
may seem, and as awkwardly funny as the action is, theatergoers
most certainly identify with these characters’ loneliness... The
Realistic Joneses may be the most singular work I’ve seen in some
time.” E. Kyle Minor, New Haven Register
The Realistic Joneses is thrilling to watch for Mr. Eno’s way with
dialogue, which eludes and embraces a rhythmic and humane
weirdness... In his hands, awkwardness feels not just uncomfortable
but dramatically vital. His recognition of the frailty of
languagehis delight in the drama of subtext, the real mode of
twenty-first-century communicationcreates space for the audience
to interpret what they are seeing.” Economist
The Realistic Joneses makes stinging, sometimes wistful
observations about the challenges we face as individuals and in
relationships... Using the intriguingly offbeat dialogue that is
his hallmark, Eno draws his four characters to each other in ways
that movingly emphasize the ultimate commonality of the human
condition.” Elysa Gardner, USA Today
Indescribably brilliant... Something tells me that this odd,
wonderful play is going to have a very long life, and that those
who see the world premiere will gain bragging rights about being in
on the ground floor of the creation of a modern American classic.”
Joe Meyers, Connecticut Post
Very funny... This play worms its way into the psyche. Eno subtly
imprints on our consciousness not just a general awareness of our
mortality but of the way dread pervades our daily routines, and how
it instills in us a need for other people.” Don Aucoin, Boston
Globe
Eno is a master who has a unique voice of his generation of
playwrights... a fascinating word fest that dazzles in the language
of absurdist theater.” Frank Rizzo, Hartford Courant
A thoughtful play that resonates with thematic richness and
feeling... Questions of mortality, solitude, love, loss, humanity
and the universe surface in sneaky ways that catch you off-guard in
Eno’s writing. What might sound to the casual listener like
off-the-cuff glibness artfully veils an emotional depth of charge.”
David Rooney, Hollywood Reporter
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